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in Taiwan. Elsewhere, in most Asian cities with a large Overseas Chinese community there are retailers who sell gods but who neither carve nor repair them. (Plate 2)
By way of background let me explain the various types of image produced by Chinese. The majority of north and central China's images used to be made of mud and straw and painted with a dull gold paint. (Plate 3.) They have been destroyed by the myriad in the course of the numerous iconoclastic anti-superstition campaigns conducted on the mainland in the past fifty years or so and are rarely to be seen. The next group are the bronze, iron and other metal images of which only the smaller are still in existence, mostly in America and Europe; the larger having been too large to move have long since been melted down for scrap.
The third group consists of the carved and painted or lacquered wood images mainly from the forested south of China. The best materials for these images, so Chinese have assured me, were camphor and sandalwood and the finest carvings were from Amoy where a group of seven families produced their famous images over eight generations ceasing production only in 1950. Amoy figures were precise in detail, well-proportioned and expensive but rather baroque in their appearance.
In very general terms, Cantonese images tend to be rather ill-proportioned and stylised; commonly they are gilt-painted figures with heavy features (Plate 4). Hainanese images are generally recognisable by their short limbs; Taiwanese carvings are usually identifiable by their heavy use of blues and sea-greens, and nowadays for their gaudy, cheap and shoddy plastic images. Some Taiwanese images have been made from varnishing wadded rice husks into shape (Plate 5).
For several generations the Yangtze valley produced large numbers of well carved, handsome and beautifully finished gold lacquer images, predominantly for Buddhist temples, although many were also Taoist folk religion deities. Since 1949 a factory has grown up near Kai Tak airport in Hong Kong in which Shanghai refugees still produce these for Hong Kong and for export. A fifteen foot bodhisattva was being finished whilst I was there, rolled on its back prior to being shipped to Singapore, swathed in plastic sheeting.
There are very many other local styles such as the knotted-root carvings of Shantung, the boxwood carving of the upper Yangtze
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Page 76
CRAFT OF GOD CARVING IN SINGAPORE
69
in Taiwan. Elsewhere, in most Asian cities with a large Overseas Chinese community there are retailers who sell gods but who neither carve nor repair them. (Plate 2)
By way of background let me explain the various types of image produced by Chinese. The majority of north and central China's images used to be made of mud and straw and painted with a dull gold paint. (Plate 3.) They have been destroyed by the myriad in the course of the numerous iconoclastic anti-superstition campaigns conducted on the mainland in the past fifty years or so and are rarely to be seen. The next group are the bronze, iron and other metal images of which only the smaller are still in existence, mostly in America and Europe; the larger having been too large to move have long since been melted down for scrap.
The third group consists of the carved and painted or lacquered wood images mainly from the forested south of China. The best materials for these images, so Chinese have assured me, were cam- phor and sandalwood and the finest carvings were from Amoy where a group of seven families produced their famous images over eight generations ceasing production only in 1950. Amoy figures were precise in detail, well-proportioned and expensive but rather baroque in their appearance.
In very general terms, Cantonese images tend to be rather ill- proportioned and stylised; commonly they are gilt-painted figures with heavy features (Plate 4). Hainanese images are generally re- cognisable by their short limbs; Taiwanese carvings are usually identifiable by their heavy use of blues and sea-greens, and nowadays for their gaudy, cheap and shoddy plastic images. Some Taiwanese images have been made from varnishing wadded rice husks into shape (Plate 5).
For several generations the Yangtze valley produced large num- bers of well carved, handsome and beautifully finished gold lacquer images, predominantly for Buddhist temples, although many were also Taoist folk religion deities. Since 1949 a factory has grown up near Kai Tak airport in Hong Kong in which Shanghai refugees still produce these for Hong Kong and for export. A fifteen foot bodhisattva was being finished whilst I was there, rolled on its back prior to being shipped to Singapore, swathed in plastic sheeting.
There are very many other local styles such as the knotted-root carvings of Shantung, the boxwood carving of the upper Yangtze
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